After six years Kasper Spez finally dropped his long awaited second album “Logi” and to top it he decided to place the release party on the actual release date in Aarhus – I’m guessing there were no dates available in Copenhagen.
For some reason, it felt as if Atlas had done absolutely nothing to promote the event, which meant there were only around 400 invited for the Facebook-event, of which this writer invited around half. Therefore, Atlas was of course only half filled when Kasper Spez took to the stage, without a support act, at 21:00. He did bring his band; a guitarist/pianist a trombonist and his partner in crime, the producer Esben Thornhal. The stage was set with a small coffee table with an old phone and of strangely enough a coffee maker. The stage was partly lit by a star shaped lamp and the mood was very informal.
Kasper Spez is a very charismatic person, especially when he seems to be trying not to be. This would be a journey into the mind of what the Danish hip hop expert Peter Trier Aagaard has called Danish rap’s Snufkin. This mystical and friendly loner who comes out on stage every once in a while when he has something to get off his chest. There is an authenticity over Kasper Spez as he is standing there on stage – very vulnerable – modestly presenting every track.
I had chosen not to hear the new album that had been released the same day so that I would get the best possible live-impression. Also because to me Kasper Spez can be a bit to spoken word on tracks, where he is more of a rapper live. Meaning that he accentuates rhymes has more drive and flow and most important more emotion live as far as I am concerned. And the drums are far more banging it seems.
The audience was spread out through the hall when the first notes hit the sound system. Some dedicated fans where already yelling request for older tracks and it didn’t take long for him to satisfy their requests with a few tracks from both “Love Junkie” and “Fantasten”. Highlights included “Pigen På Væggen”, “Hvem Jeg Var” and “Jens”, the latter resulting in one big sing-along.
The focus however, was on the new album and they sounded good live. Having heard the recorded versions afterwardse, I can truly say that the band really brought something extra out in every track. Especially the new version of “Angst” was banging hard. One of the most heartfelt moments for me was “Typer”, which features the legendary Danish singer Trille on the chorus, who (unfortunately) couldn’t be there. The highlight, however, was the Peder (Prunes, Pelding) produced “Falder” that rightfully ended the show as it does the record.
Since seeing Kasper Spez perform the first time back when he was merely a punch line rapper I have always felt that he has one of the best deliveries of any Danish MC. I do feel however that some of that has been lost on the more subdued recordings on the last two albums. Therefor it was nice to see that it had not been lost live.
The fans kept asking for an encore, perhaps mostly expecting “Kloak Barbie” that he did play at the Per Vers release party last year. Some fans where screaming for it throughout the whole concert. I would have loved to hear him spit some older stuff. I can appreciate that he is not up to playing his earlier punch line orientated tracks, but since some of my favorite Kasper Spez tracks are older one like “Derfor Kontra”, “Venskab” and the crowd favorite “Kloak Barbie” I would have loved to have heard at least one pre-“Love Junkie” tune.
Nevertheless, it was a great, profound and poignant performance. The only real taint on it was the sound at Atlas. It’s like they have this mantra that all the concerts, especially the ones that are not filled to capacity, should be just a little too loud, so that people are spreading out away from the scene. I have friends who refuse to go to concerts at Atlas for that reason alone and I am surprised that after these years they have still not gotten a hold of it. It is not always necessary to play at maximum volume, especially when the music is as low-key as this.
All in all a great, profound and poignant performance. Unfortunately not filled to capacity, and with too much volume from time to time. That said, Kasper Spez did a brilliant job. (5/6)